In the first two lines we notice how the intended effect is produced by the preponderance of long vowels and difficult consonants, together with the skilful arrangement of pause and emphasis. In the last two lines, the short vowels, the liquids and sibilants, and the movement unobstructed by pauses, produce precisely the opposite effect.

10. Appreciation of the capabilities of our language in this direction is steadily gaining in modern times. This is true not only of quantity, but still more of the quality of tones. Not only do the sounds of the voice differ in length, but also in richness, fulness, delicacy, and in many other qualities which can be better exemplified than described. The consideration of this subject will be found in the following chapter.

CHAPTER IX.

TONE-COLOR.

1. THE term TONE-COLOR is used in acoustics to describe the quality by which one sound differs from another, not in pitch, or length, or force, but in a way in which one shade or tint of a color differs from another. Just as two shades of red or green are easily distinguishable from each other, although of the same general color, so two notes of the same pitch have a different quality when coming respectively from a flute or a violin. The difference in each case is due to the character of the vibrations, to the overtones, as they are called, rising from the fundamental tone,

2. As in musical instruments, so in the human voice. Not only does one voice differ from another in quality, but each vocal element, each vowel and consonant, has its appropriate tone-color. It is readily seen that some of the vowelsounds are much fuller, richer, deeper, than others; as of the o in rose compared with the i in pin. We have said that this quality is not the same as that of length. And yet there is a difference of quality, or tone-color, between the so-called long and short vowels; as the i in ravine and the i in fin.

3. This difference exists, of course, in prose as well as in verse, and is seen in the sonorousness or mellifluence of one passage of prose, as compared with another. But it is at once evident of how much greater effect this quality is capable

in a form of speech like verse, in which so much depends on the pleasure of the ear. If rhythm is the anatomy of verse, without which it could not exist, then tone-color is the fleshtint which clothes it with life and animation. Therefore, when we say that in English, rhythm is founded upon accent and not upon quantity, we do not forget, that the quantity and quality of the sounds have as much to do perhaps with the beauty of our verse as with that of the ancients.

4. In one sense, both rhyme and alliteration, of which we have already spoken, come under the head of tone-color, as they both have to do with the quality of sounds. But their character is such as to need special treatment, and they reveal similarity only, of sounds, whereas we have now rather to do with variety.

5. The main principle which concerns us now is that certain tones are naturally significant of certain emotions, or expressive of certain ideas. These may be definable or undefinable, but they are unmistakable. Certain elements of language are derived from imitation of sounds or motions in the natural world; as in the words, gurgle, splash, thud. This principle is called onomatopeia, from a Greek word which means "the making of names." But there is something more than mere imitation in this. Even where there is no exact similarity, there is correspondence between the effort required to utter certain sounds, and certain motions in nature. The mute consonant t requires more effort than the liquid l, and so the one comes to be used in the word lay, and the other in the word tug. Lenters words expressive of liquid motion, as flow, glide; and m is used of murmuring sounds. Then, again, besides imitation and correspondence, there is also a suggestiveness in sounds, which is perhaps indefinable, but is nevertheless real. All these effects are produced by tone-color in human speech.

2.

6. To appreciate this charm in verse, needs a nicer ear for the harmonies of tone, than is sufficient to notice the effects of rhyme or rhythm. One must read and listen with the eye and ear of the imagination. Take the following example from Longfellow's "Voices of the Night:"

I heard the trailing garments of the Night
Sweep through her marble halls;

I saw her sable skirts all fringed with light
From the celestial walls.

The poet here personifies the cool and soothing Night as a serene and consoling goddess. Her presence comes to him as of the one he loves, moving down a dim marble corridor, her flowing silken robes just rustling on the smooth pavement, and fringed with the fading light of day. Now read the verse, with the voice protracted on the word trailing, and giving full force to both initial consonants in the word sweep, as well as to the vowel sound in the same word; notice the open coolness of the vowel a in garment and marble; give fringed its complete expression; observe the alliteration in saw, sable, skirts, celestial; catch the rhythmic effect of the trochee preceding the iambus in the second line; and we can hardly fail to bring the vision of the poet into an open reality to the eye and ear.

7. Imitation, correspondence, suggestiveness, we have said, are all found in tone-color. Those who have studied the subject minutely, and classified the vocal elements, indicate the various ideas which the different vowels and consonants are fitted to express. Professor Tolman, in the "Andover Review" for March, 1887, tells us that the lower vowels in his scale, aw (awe), oo (gloom), ō (gore), etc., are fitted to express "solemnity, horror, and deep grief," as well as "slowness of motion and great size." The colors at the top of the scale, i (little), e (met), a (mat), express "joy, gayety, triviality,

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rapid movement, delicacy, and physical littleness." consonants, he says the surd mutes, p, t, k, express pectedness, vigor, explosive passion, and startling effects of all kinds;" "z and zh are rich, pleasant colors;" and r l smooth are used for "softness, smoothness, liquidity, lingering, and love;" the whispered consonants, s, sh, h, and wh, express "fear, secrecy, deception, caution, mystery."

8. The following examples range through the various degrees of imitation, correspondence, and suggestiveness.

9. In the first, notice how the surd mutes and their vowels help to convey the idea of littleness, delicacy, and sprightliness:

So Drayton, of the same Queen Mab:

Hop and Mop and Drap so clear,
Pip and Trip and Skip that were
To Mab their sovereign dear,

Her special maids of honor;
Fib and Tib and Pinck and Pin,
Tick and Quick and Jill and Jin,
Tit and Wit and Wap and Win,

The train that wait upon her.